African Philosophy: Aesthetics

Jeanne-Marie Jackson’s The African Novel of Ideas: Philosophy and Individualism in the Age of Global Writing provides an analytic framework for understanding the novel as a form of philosophical expression in African intellectual history. More specifically, she uses individualism as a tool for tracking the expression of abstract “philosophical thinking” in a selection of African novels. For Jackson, it is the fictional individual in the novel who is the primary bearer of philosophical thought. Jackson situates this interpretative heuristic vis-à-vis the (...) debates about ethnophilosophy which dominated African philosophy in third quarter of the twentieth century. Like Paulin Hountondji, perhaps the most well-known critic of ethnophilosophy, Jackson emphasizes that philosophical practice, at a bare minimum, requires a second-order reflexivity toward conventional hegemonic beliefs in a given society, and this second order discourse takes the form of an argumentative stance toward those beliefs. Her general suggestion is that the best place to look for philosophical thought in the aforementioned sense is to examine individual thinkers, whether real or fictional. (shrink)

Marlene van Niekerk's 1994 Triomf is a plaasroman, or farm novel, without the farm; it formally resembles a nostalgic pastoral genre initiated by the collapse of Southern African agricultural economy around the time of the Great Depression, but removes even the symbol of the farm as aesthetic compensation for material loss. In the process, van Niekerk composes a post-apartheid tragicomedy of a lumpenproletariat white supremacist family coming into long-belated class consciousness, an epiphany which, surprisingly, survives the novel's translations from Afrikaans (...) to South African English to 'international' English. Crucially, this understanding is mediated by a critical tendency to appraise Triomf in the context of Faulkner and the Southern Gothic, a generic comparison which gets a lot wrong but is ultimately very revealing, less about Triomf than about the imperial world-system through which it circulates and is consecrated. Consequently, the novel stages globally what seems at first to be a parochial question: how is one supposed to imagine democratic reconciliation and integration after apartheid, when one of the classes to be reconciled lacks historical self-consciousness and has no obvious place in either the apartheid regime or the post-apartheid dispensation? By analyzing van Niekerk's novel and the institutions which consecrate it, the paper fleshes out critiques of world-literary hermeneutics, specifically for its naive handling of genre and context, and of post-apartheid 'reconciliation' under capital. (shrink)

The significance of hair is deeply rooted in African ontology. It depicts leadership status and when shaved off completely, may sometimes signify mourning or lack of dignity. In Benin-city of Edo state in Nigeria, Chiefs who are mostly men are identified by their unique hair-styles. It shows their position of leadership in the society and when a king dies, all the men in the kingdom are expected to shave off their hair as a sign of respect for the departed king. (...) In the culture of the Yoruba people of Nigeria, hair is highly celebrated by the women as it is seen as a crown of glory upon their heads. With advancement in globalisation and cross-cultural relationships, the culture of hair and its ontological significances are gradually being eroded as expressed in Chimamanda Adichie‟s „Americanah‟. For this reason, the hair, being a very important symbol of cultural identity has become a key role in understanding the issues with identity crises in Africa. The paper analyses the ontological significances of hair in Africa, evaluates the issues involved in the misrepresentation of African hair as presented in some African literature as well as interrogates the issues of identity crises occasioned by African hair. (shrink)

While the field of aesthetics has long been dominated by European philosophy, recent inquiries have expanded the arena to accommodate different cultures as well as different definitions. In this volume, scholars and teachers in the fields of African and African American studies advance the debate over the nature of African aesthetics, approaching the subject from a broad range of disciplines. Dance, music, art, theatre, and literature are examined in order to appreciate and delineate the specific qualities and aspects of African (...) aesthetics; additionally, theoretical concepts and issues are discussed to define more clearly the meaning of an "African aesthetic.". (shrink)